ArtSlant - Closing soon en-us 40 Group Show - Norton Simon Museum - April 26th, 2013 - January 6th, 2014 <p style="text-align: justify;"><span style="font-size: small;"><b>Pasadena, CA</b>—The Norton Simon Museum presents “Beyond Brancusi: The Space of Sculpture,” an exhibition that examines how the great sculptors of the 20th century, both directly and indirectly, were influenced by Constantin Brancusi and his groundbreaking use of space and material. Featuring 19 works from the Museum’s renowned collection of post-war art, by sculptors as diverse as Henry Moore, Isamu Noguchi, Barbara Hepworth, Donald Judd, Carl Andre, John McCracken and Robert Irwin, the exhibition demonstrates how sculpture moved from being a self-contained, three-dimensional object to one that engages with its surrounding space. In a variety of ways and in a variety of materials, including marble, wood, stainless steel, felt or Plexiglas, the sculptures on view illustrate some of the most innovative moments in art making in the latter half of the 20th century. The exhibition is on view from April 26, 2013, through Jan. 6, 2014, in the Museum’s temporary exhibition gallery.</span></p> <p style="text-align: justify;" class="Default"><span style="font-size: small;">Romanian-born and Paris-based, Brancusi was arguably the most influential sculptor of the 20th century. His artistic inquiries into abstraction and representation, into mass and space, into craft and materials, serve as the foundation on which later artists dealt with these transformative issues. Indeed, Brancusi set up an important dichotomy when he embraced an intense understanding of his materials and worked them to a high degree of finish, always by hand, as in his masterpiece <i>Bird in Space </i>from 1931, on view in the Museum’s 20th-century gallery. But most significantly, Brancusi was the first artist to approach sculpture as a work integral to its environment. “I don’t care what they reflect,” the artist once mused of his artworks, “as long as it is life itself.” “Beyond Brancusi: The Space of Sculpture” presents signature works from the Norton Simon collections that exhibit these creative breakthroughs. While the featured works were made over a 30-year span, in several different countries and using a variety of materials, each can be seen as drawing on Brancusi’s revolutionary relationship to space.</span></p> <p style="text-align: justify;" class="Default"><span style="font-size: small;">The exhibition begins with the works of renowned artists Henry Moore (English, 1898–1986), Isamu Noguchi (American, 1904–1988) and Barbara Hepworth (English, 1903–1975), among others. Just a generation younger than Brancusi, these artists introduced space <i>into </i>their compositions by using holes or assembling elements around negative space. For example, supple curves reveal a dramatic cavity in Moore’s <i>Reclining Form </i>from 1966, demonstrating the artist’s concerns in balancing the physical permanence of the material with the buoyancy deliberately created by the space below and within it. Hepworth’s <i>Duo </i>and <i>Two Forms (Green and Green)</i>, both from 1973, display the artist’s significant interest in piercing holes into her forms. These material absences literally and metaphorically open each mass, where the work becomes about both the object and the opening, with neither assuming a hegemonic role over the other. The graceful marble lattice that defines Noguchi’s <i>The White Gunas </i>from 1946 makes the space between the carved forms as important as the stone itself. Further, the triangular placement of the three main verticals denies a front or back, requiring the viewer to move around the work and thus redefine it from differing viewpoints.</span></p> <p style="text-align: justify;" class="Default"><span style="font-size: small;">The exhibition continues with works made of non-traditional materials—often industrial— such as metal, felt, Plexiglas and coated glass. Donald Judd (American, 1928–1994), Robert Morris (American, b. 1931) and Carl Andre (American, b. 1935) all employed an aesthetic that removed their work from anything narrative or based in nature. And while they each had differing opinions as to the meaning of their sculpture, they engaged space even more aggressively than the previous generation. Judd’s <i>Untitled </i>from 1969 consists of 10 stainless-steel units, coated in blue Plexiglas, stacked vertically onto a wall, thus integrating space directly into the piece. The number of stacks varies depending on the height of the ceiling (this installation features 8 of 10), but the spaces between them remain consistent: they are the same distance apart as they are tall. Judd’s sculpture presents a visual paradox—light and open on the one hand, durable and inaccessible on the other. In Morris’s <i>Untitled</i>, also from 1969, five regular horizontal slits, cut into a large swath of industrial felt, allow the work to cascade rhythmically to the floor. Over time, the gaps between the felt grow, changing the appearance of the object and the indication of space around it. Wanting his materials to be straightforward and unmitigated, Morris nevertheless was able to transform a raw manufactured product into an object of grace and beauty.</span></p> <p style="text-align: justify;" class="Default"><span style="font-size: small;">The exhibition concludes with a grouping of works by Southern California artists who introduced experimental materials and expanded the relationship between sculptural object and space even further. Robert Irwin (American, b. 1928), DeWain Valentine (American, b. 1936), Craig Kauffman (American, 1932–2010) and Helen Pashgian (American, b. 1934) introduced light and its reflection into their work, as well as a perceptual aspect aimed at the viewer, often fusing space and object. For example, Irwin’s <i>Untitled </i>from 1969 plays with perception in such a way that the distinctions between solid and void—that is, of form and space—are utterly blurred. In this piece, a painted metal disc is mounted nearly two feet from the surface of the wall, and yet it disappears into it; the form has become visually part of its surrounding space. Valentine’s <i>Large Wall </i>from 1968 is a monument to the atmosphere of sea and sky. Its transparency and its scale also reflect the artist’s pursuit of sculpture that becomes “involved with both the inside space and the outside space or surface—where most sculpture visually stops.” Pashgian’s <i>Untitled </i>from 1969 uses resin with a bent acrylic rod at its center to give the work greater dimension. While Brancusi’s finish was intended to reflect the surrounding world, Pashgian’s aim was to consider the interior of the work: in the light it absorbed, in the space it created and in the nature of its purity.</span></p> <p style="text-align: justify;"><span style="font-size: small;">“Beyond Brancusi: The Space of Sculpture” is organized by Associate Curator Leah Lehmbeck. A series of related programs will be presented. Dan Flavin’s 1966 sculpture <i>“monument” on the survival of Mrs. Reppin </i>is on view at the Museum from March 8 through Aug. 19, 2013. More information can be found at</span></p> Thu, 16 May 2013 11:21:16 +0000 Jose Guadalupe Posada - Museum of Latin American Art (MOLAA) - October 17th, 2013 - January 8th, 2014 <p style="text-align: justify;"><span style="font-size: small;">On the 100 year anniversary of Posada&rsquo;s death, MOLAA honors the &ldquo;father of Mexican printmaking&rdquo; with a display of chapbooks, broadsides and blocks that feature his most iconic characters and sensational illustrations. Special tours and workshops related to Jos&eacute; Guadalupe Posada are available upon request. Contact the Education Department for more details at</span></p> Thu, 12 Sep 2013 16:46:36 +0000 Franz A. Bischoff, Armin C. Hansen, Paul Lauritz, Alfred R. Mitchell, Guy Rose, George Gardner Symons - Irvine Museum - September 28th, 2013 - January 9th, 2014 <p style="text-align: justify;"><span style="font-size: small;">In the early years of the twentieth century, California produced a unique artistic style which combined several distinctive aspects of American and European art. This style, which is often called California Impressionism or California Plein Air painting, after the French term for "in the open air", concerned itself with light and color. As a variant of the American Impressionist style, it focused directly on the abundant California light. Here, the land became the principal subject of this style, and it was represented as clean and unspoiled, with vigor and grandeur. The sun shone its light on the land and gave it color: greens of spring, browns of late summer and fall and everywhere, the deep blue mantle of the sky. </span><br /><br /><span style="font-size: small;"> One of The Irvine Museum's most popular and successful traveling exhibitions, CALIFORNIA IMPRESSIONISM was inaugurated in 2010 when it was displayed at the Haggin Museum, in Stockton, California, and continued to the Boca Raton Museum in Florida, the Monterey Museum of Art, the Portland Art Museum, the Whatcom County Museum in Bellingham, Washington, and the Bakersfield Museum of Art. Now, this remarkable exhibition has returned home to The Irvine Museum. </span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>FEATURED ARTISTS</strong></span><br /> <br /><span style="font-size: small;"> Some of the most popular works of art in the museum collection will be displayed in this exhibition. ARROYO SECO BRIDGE, by Franz A. Bischoff (1864-1929), was painted in South Pasadena in 1912. The bridge still stands today, connecting Highland Park with South Pasadena at York Boulevard. However, what used to be the picturesque banks of the Arroyo Seco has since been completely paved over and is now the roadway of the Pasadena Freeway. </span><br /><br /><span style="font-size: small;">MAKING PORT, by Armin C. Hansen (1886-1957), shows a tugboat in heavy seas, valiantly going out to help guide a schooner safely into port. The scene is bathed in cold and dreary color and the composition is precariously perched on a series of oblique and angular lines. Seen as a whole, it shows a graphic view of the rigor and peril of seafaring life. </span><br /><br /><span style="font-size: small;">MOUNTAIN SILENCE, painted by Paul Lauritz (1889-1975) in 1922, is a view of the California Sierra Nevada mountains on a bright, clear morning. The artist combines the majesty of the mountains with a sense of clear, crisp intense light so typical of the Sierra. This is achieved by adept handling of color and its application in a multitude of brightly colored dots of paint. The constant apparent motion caused by numberless dots of color gives the work its exceptional sense of natural, fluid light. </span><br /><br /><span style="font-size: small;">One of the most popular paintings in this show is LA JOLLA SHORES, painted in the early 1920s by Alfred R. Mitchell (1888-1972). The scene shows the community of La Jolla, just north of San Diego, as it looked long before the rampant development that characterize the area today. Mitchell was one of San Diego's most important painters and most popular art teachers. </span><br /><br /><span style="font-size: small;">Generally taken to be the most important of California's Impressionists painters, Guy Rose (1867-1925) is represented by LAGUNA EUCALYPTUS, painted about 1916. One of the very few artists of this period to have been born and raised in California, Rose studied art in San Francisco and Paris and adopted a French Impressionist approach to painting. For eight years, between 1904 and 1912, Rose and his wife Ethel lived in the small village of Giverny and were friends and neighbors of Claude Monet. LAGUNA EUCALYPTUS was painted soon after Rose's return to California. </span><br /><br /><span style="font-size: small;">SOUTHERN CALIFORNIA COAST, by George Gardner Symons (1861-1930) shows the coast at Laguna Beach near today's community of Rockledge. Symons became quite famous for his paintings of snow covered hills and valleys in Massachusetts and New Hampshire but also loved to paint in southern California. A close friend of William Wendt (1865-1946), whose work is also represented in this exhibition, Symons built a studio-home in Laguna Beach and became an active member of the local art community.</span></p> Thu, 19 Sep 2013 09:33:52 +0000 Group Show - Angels Gate Cultural Center - May 12th, 2013 - January 10th, 2014 <p>In 2007, the local Audubon Society got word of an anonymous action taken by a resident of San Pedro. A nest box mysteriously appeared one day in Harbor Park along the 110 Freeway. In recent years, Southern California's western bluebird population has been on the decline. Though it's not fully understood why, it seems that urban growth and climate change may disturb the nesting process. Surprisingly, bluebirds took to the anonymously placed box, depositing gem-like blue eggs. Now the Audubon Club has adopted the park project, placing more boxes and hosting pairs of birds. <br /><br />Based on the story of the nesting box, <i>Out of the Blue</i> is a visual response by artists from San Pedro's Exceptional Children's Foundation. Nestled along Gaffey Street, the ECF studio is a professional workshop where adults with developmental disabilities come to create art. Like the migrating bluebirds, the artists have found a place where they may exist creatively, undisturbed by the outside world. Here, the act of art-making, with its intense focus on special objects, characters, and dream-inspired landscapes provides shelter for the spirit. Out of the blue, anything can happen, but the creative life is our true home. </p> <p>This project was done in partnership with the Exceptional Children's Foundation. </p> Sat, 11 May 2013 20:50:13 +0000 - Angels Gate Cultural Center - September 7th, 2013 - January 10th, 2014 <p><em>Picking up the Pieces: A Suicide Prevention Project&nbsp;</em>explores the difficult emotions and thoughts that accompany the subject of suicide and suicide prevention. The project is curated by artist, Stacey Wexler in collaboration with residents from Harbor View House in San Pedro, CA. Wexler and the participating residents transform two difficult subjects into an inspiring,powerful and cohesive dialogue&nbsp;<br /><br /><em>Picking Up the Pieces</em>&nbsp;is an ongoing community art project that utilizes the fundamental elements of a jigsaw puzzle originally consisting of twenty-seven puzzle pieces. Each piece is an individual narration of the experiences the residents of Harbor View House had with suicide and suicide prevention. As a whole, the project encompasses a range of emotions, from the hopeless to the hopeful. Throughout the project's residency at Angels Gate Cultural Center (AGCC), the community will have the opportunity to expand on the discussion that Wexler and the residents at Harbor View House started. Blank pieces of the puzzle will be made available by AGCC and Wexler so that the audience may create artistic representations of their own experiences and thoughts on suicide and show what their hopes for suicide prevention look like.&nbsp;<br /><br />BIOGRAPHY<br /><em>Stacey Wexler has been working professionally in the arts for more than 3o years. She earned her MFA from Claremont Graduate University with an emphasis in Ceramic Sculpture and her BFA from The University of the Arts in Philadelphia. Additionally, she attended Art Center College of Design with a specialization in computer graphics. She is currently an adjunct assistant professor in the Department of Art and Architecture at Los Angeles City College. Her own personal creative work has been exhibited nationally and in Germany, Italy and Hungary. She was selected as a resident artist at the Hungarian Multi-Cultural Center in Budapest in 2011. Stacey Wexler has a studio in Downtown Los Angeles.&nbsp;</em></p> Mon, 16 Sep 2013 18:27:03 +0000 Fabian Debora, Bia Gayotto, Robin Johnson, Narsiso Martinez, sandy rodriguez, John Trevino - Angels Gate Cultural Center - October 27th, 2013 - January 10th, 2014 <p align="right"><strong style="font-size: 12px; text-align: left;">Opening Reception for new show in gallery &nbsp;on October 27<sup>th</sup>, 2013 from 4:00pm-6:00pm</strong></p> <p>&nbsp;<span style="font-size: 12px;">Angels Gate Cultural Center (AGCC) is pleased to exhibit work by several Los Angeles based artists that engage in the current conversation on community.&nbsp;</span></p> <p>&nbsp;<span style="font-size: 12px;">For the next few years, AGCC&rsquo;s gallery invites the community to share their stories with us. We are interested in how these stories shape the collective consciousness in San Pedro and the South Bay area. As part of opening up the galleries to hear the voices within the community we have repositioned part of our Main Gallery to be a rotating roundtable discussion using artwork to stimulate conversations about identity, place, fellowship, and culture.&nbsp; Throughout the exhibitions visitors are asked to consider their lives, the lives of younger and older generations, and how a healthy community&rsquo;s well-being is sustained through the quality of relationships that individuals form in their community.</span></p> <p>&nbsp;<span style="font-size: 12px;">For this roundtable conversation, artwork by artsts Fabian Debora, Bia Gayotto, Robin Johnson, Narsiso Martinez, Sandy Rodriguez, and John Trevino has been selected.&nbsp;</span></p> <p>&nbsp;<span style="font-size: 12px;">The opening coincides with our Annual HOWL &amp; Scary Stories Halloween event. HOWL lasts from 4 &ndash; 6pm and Scary Stories from 6:30- 8pm. The event is open to people of all ages.</span></p> <p>&nbsp;<strong style="font-size: 12px;">Also opening:</strong></p> <p>The Family Room space will feature work by AGCC artists.</p> <p>&nbsp;<strong style="font-size: 12px;">Continuing Exhibitions:</strong></p> <p>The Community Room will feature work by AGCC studio artists: Paul Carmichael, Patrick Grugan, Dennis Keeley, Jon Nakamura and Frank Rodriguez. The show is brought together under the banner theme, <em>What We See</em>. Each piece is an exploration of what we see, what we don&rsquo;t see, and what we think we see. The exhibit was organized by Getty Multicultural Intern, Sabrina Orozco.</p> <p><span style="font-size: 12px;">The Community Gallery features </span><em style="font-size: 12px;">Picking up the Pieces: a suicide prevention project,</em><span style="font-size: 12px;"> a curated show by Stacey Wexler and </span><em style="font-size: 12px;">Out of the Blue</em><span style="font-size: 12px;"> , a collaboration between Michele Mart&iacute;nez and developmental disabled artists from the ECF Studio in San Pedro.</span><span style="font-size: 12px;">&nbsp;</span></p> Wed, 09 Oct 2013 20:53:01 +0000 - Museum of Latin American Art (MOLAA) - July 19th, 2013 - January 10th, 2014 <p style="text-align: justify;"><span style="font-size: small;">Astrovandalistas is a translocal artist collective, whose members come from different geographical areas. Their projects operate in the intersection of art, activism, research, and the free distribution of knowledge. </span><br /><br /><span style="font-size: small;">The project <em>&AElig;ffect Lab</em> consists of the research and creation of a free communication network based on affectivity: a network parallel to the internet in which direct human-human cooperation and communication take place. This network revolves around the creation of several communication hardware prototypes, which include a mobile <strong>Telematic Sound Weapon, Modular Text Screens</strong> and a <strong>FreeNet.</strong> The prototypes will be developed through workshops in Mexico City, Tijuana, Los Angeles and other cities TBA, and the documentation of these workshops will also be part of the exhibition. These prototypes will be brought to the public in test-case scenarios that will also be understood as urban public space performances and interventions. </span><br /><br /><span style="font-size: small;">With this project, Astrovandalistas seek to create technologies that can be replicated and utilized in different countries, proposing collaborative dialogues that promote the construction of new and shared realities.</span><br /><br /><span style="font-size: small;">MOLAA&rsquo;S Project Room will be converted into a control and visualization hub for this network, allowing the visitor to take part in its communication flow and to glimpse its current progress. The spectator will be able to experience the prototypes, as well to witness the documentation of the evolution of the project. The exhibition catalogue will function as an &ldquo;Astrovandalista Cookbook,&rdquo; with a manifesto and information on how to reproduce the prototypes.</span><br /><br /><span style="font-size: small;">The three prototypes to be developed are:</span><br /><br /><span style="font-size: small;"><strong>Telematic Sound Weapon:</strong> a mechanical device that will be activated by messages sent via the internet containing a hashtag similar to #armasonoraMOLAA. Its main purpose is to move virtual protest into physical space.</span><br /><br /><span style="font-size: small;"><strong>Modular Text Screens:</strong> a modular system of separate low-resolution screens that display messages which are received wirelessly. They are able to function individually and/or to automatically start functioning together when more than one is in the same space at the same time. When carried, these individual screens can be understood as electronic picket signs that convey messages received in real time. When installed in public space, they function as an open billboard that a community can activate and place messages on.</span><br /><br /><span style="font-size: small;"><strong>FreeNet</strong> is a mobile wireless server able to store archives, audio and video, generating an independent communal net in which the users can also talk to each other. The users can log into this system without using Internet. This net will be used in workshops in Tijuana and Los Angeles</span>.</p> Sat, 04 Jan 2014 16:52:27 +0000 Alan Shields - Cherry and Martin - November 23rd, 2013 - January 11th, 2014 <p style="text-align: justify;"><span style="font-size: small;">Cherry and Martin is pleased to announce Alan Shields' first solo exhibition on the West Coast in four decades. The exhibition will include major sculptural pieces, conceptual word drawings, free-hanging paintings and pulped paper works.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The brightly colored, densely textured and layered works of Alan Shields (1944-2005) grew out of his deep consideration of material and process, color and space. Throughout his many decades of practice, Alan Shields consistently took on a broader context for the art object and what it could do. Shields intended for many of his objects to hang freely in space -- designed for buildings without walls -- and to be circumnavigated bodily by his viewers. Shields was actively engaged with architecture, theater and dance, and while he consistently used the word "painting" in interviews to describe his approach, his art clearly takes on not only expanded painting practice, but also the conceptual and minimalist objects of the New York scene of the 60s and 70s in which Shields was immersed. With his long hair, painted nails and handmade clothes, Shields stood out; upon moving to New York from Kansas in 1968, he quickly established himself as one of the most successful young artists in the downtown New York scene, with successful shows at Paula Cooper Gallery, a brief stint working at Max's Kansas City, and a lengthy interview that made the cover of Artforum in 1971. Reflecting on those years, he later recalled that, "it didn't seem logical to continue to paint a painting and hang it on a nail in the living room&hellip;when I first came to New York it impressed me that the most interesting artists were the ones who could talk about other things" (Alan Shields "Dimensions of a Cherry Stone," SUNY Stony Brook 1982). Shields' life-long insistence on the connection between art and life was admired by a diverse group of actors and writers, filmmakers and playwrights, and fellow artists as diverse as Lynda Benglis and Chuck Close, Jack Whitten and Sol LeWitt.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In her essay for "High Times Hard Times: New York Painting 1967-1975," curator Katy Siegel writes that Shields was an artist that "insisted that painting could be radical in the late 60s." In his essay for the same exhibition, which appeared at the National Academy Museum in 2007, David Reed goes on to say that, "There is no sensible history of painting since the mid-1960s, and there can be none until the contributions of artists like those in this exhibition are recognized" (p. 23). Reed points out the two-pronged attack on experimental painting of the 1970s, which was not just, "condemned by the conservative defenders of tradition&hellip;at the same time, it was dismissed by those who did not see how painting could be connected to other forms of experimental art. For these critics, no kind of painting was possible. Such attacks stemmed from a lack of understanding and sympathy for experimental painting, or from ideological turf wars and posturing. Often experimental painting was not acknowledged because in such an old and distinguished, male dominated medium, the innovations had come from unexpected, new sources -- women, blacks, lesbians, gays, counterculture radicals, and bohemian sensualists." (p. 21-22).</span></p> <p style="text-align: justify;"><span style="font-size: small;">One of the earliest pieces in Cherry and Martin's exhibition, "Untitled (typed drawing)" (1968) is a concrete word poem, the text of which appears to be pulled from an advertisement for a "jim walker 'x-10' rubber powered airplane." Organized as a grid, the piece emphasizes the shape, pattern and structure of the type-written text. The strong formal logic of these works -- and Shields' approach to the modernist grid in part from the vantage point of craft -- relates perhaps to Shields's interest in other practices, such as quilt-making (much of which is usually worked out in advance on graph paper), that he learned from his mother and sisters growing up on a farm. In his notebooks from 1968-1971, we get a sense of Shields building his art, playing his fibers-based practice off of conceptualism and minimalism. These notebooks include, for example, instructions for ephemeral grid pieces made with string; indeed, as curator Diane Vanderlip noted in her show of Shields's environments in 1977, "His first works consisted of thread patterns alone" ("Alan Shields: Four Parts," Moore College of Art Gallery, Philadelphia, PA, 1977).</span></p> <p style="text-align: justify;"><span style="font-size: small;">Another work in the Cherry and Martin show, "Dance Bag" (1985) is a major hanging sculptural piece that consists of a dyed and beaded canvas construction suspended over a mirror to emphasize the formal and spatial qualities of the work. The free-hanging "In Bed the Sky is Teacups" (1976-1977) uses the sort of maritime belting and line that Shields encountered while&nbsp;fishing - a lifelong interest - and later in life working as a ferry boat driver on Shelter Island. Shields began living on Shelter Island in 1972 in order not only to make his work but also to hunt, garden and get back to the land. On Shelter Island and in his loft in New York, Shields experimented with layered, dyed pulp paper constructions, which he worked on throughout his career - notably at the Sarabhai residency in Ahmadabad, India. "The Queen of Jordella's Crown" (1978), which will appear in the Cherry and Martin show, is a unique, pulped paper, wire construction using handmade paper. Shield's legacy in printmaking, according to the critic Robert Hughes, is "one of the most important of his generation" (Robert Hughes, "Alan Shields" Beach Museum, 1999).</span></p> <p style="text-align: justify;"><span style="font-size: small;">In 1973, Shields was included in both the Whitney and Paris Biennials. Throughout the next two decades he had solo museum and gallery shows in both the US and Europe: in France, his work was seen through the lens of Supports/Surfaces; in Italy, it was included as some of only American art in Filiberto Menna's landmark 1978 exhibition, "Disseminazione." Renewed interest in Shields' work has led to an intense examination of his practice. His environment, "Maze" (1981-82) will be the subject of an exhibition at SITE Santa Fe (December 2013) that will travel to the Parrish Art Museum (October 2014). Shields work was recently seen in a solo exhibition in Paula Cooper Gallery, and was included in two recent shows curated by Ugo Rondinone: "The Spirit Level," at Gladstone Gallery and "39greatjones," at Galerie Eva Presenhuber. Shields work is included in such museum collections such as the Corcoran Gallery of Art, Washington, D.C.; Metropolitan Museum of Art, New York, NY; Museum of Modern Art, New York, NY; National Gallery of Art, Washington, D.C.; The Solomon R. Guggenheim Museum, New York, NY; Tate Collection, London, UK; Walker Art Center, Minneapolis, MN; and the Whitney Museum of American Art, New York, NY. Shields is represented in New York by Van Doren Waxter.</span></p> <p style="text-align: justify;">&nbsp;</p> <div><strong>Gallery will be closed&nbsp;Thursday,&nbsp;Friday, and&nbsp;Saturday&nbsp;in observance of the Thanksgiving holiday.</strong></div> <p style="text-align: justify;">&nbsp;</p> <div><strong>We will do our best to accomodate any clients in town. Please email the gallery for a special viewing appointment.</strong></div> <p style="text-align: justify;"><span style="font-size: small;">&nbsp;</span></p> Sat, 23 Nov 2013 04:57:06 +0000 Josh Agle (SHAG) - Corey Helford Gallery - November 23rd, 2013 - January 11th, 2014 <p>On Saturday, November 23, 2013, Corey Helford Gallery presents SHAG&rsquo;s new exhibition &ldquo;Pink Elephants&rdquo;. The term &ldquo;Pink Elephant&rdquo; was coined by Jack London in 1913 to describe visions and hallucinations brought on by excessive alcohol consumption. Josh Agle&rsquo;s (aka Shag) work has always celebrated and advocated the drinking of cocktails and liquor, and his own lifestyle reflected the paintings he created. Agle explains, &ldquo;I used alcohol as an aid to create art and as a means to escape the ex- panding responsibilities of a successful art career. I pursued the variations and varieties of drink like the most dedicated stamp collector or fisherman might devote himself to his hobby. Because I was a well-known artist well known for the glorification of cocktails, I drank for free in many bars and restaurants. Painting became something I did between binges.The benders expanded. At some point, the end of one bout of drinking met&nbsp;the beginning of the next. I stopped drinking the day I realized I hadn&rsquo;t lifted a paint brush in a week. I put my hobby on hold, cut myself off, yelled &ldquo;last call,&rdquo; and haven&rsquo;t had a drop in months. I&rsquo;m not declaring I&rsquo;ll never drink again - I cherish my rum too much. But I will give it a long vacation. I do miss it, like one misses a close friend who&rsquo;s moved to London. In the meantime, I can make paintings about drinking - paintings that embellish, rebuke, condemn, and extol it&rdquo;. Shag&rsquo;s current exhibition &ldquo;Pink Elephants&rdquo; is a collection of those paintings.&nbsp;</p> Fri, 15 Nov 2013 21:53:43 +0000 Phranc - Craig Krull Gallery - November 30th, 2013 - January 11th, 2014 <p style="text-align: justify;"><span style="font-size: small;"><strong>Phranc</strong>,&nbsp;best known as The All-American Jewish Lesbian folksinger,&nbsp;is also a self-described "Cardboard Cobbler," who fashions cardboard, paper, gouache, and thread into life-size, three-dimensional replications of everyday objects. As a teenager, Phranc attended The Feminist Studio Workshop at The Woman's Building in Los Angeles, but she traces her obsession with cardboard back to childhood. She says, "From the time I sat in my first refrigerator box submarine, I knew the cardboard sea was for me." Her first exhibition at Craig Krull Gallery,<em>Phranc of California</em>&nbsp;(Summer of 2011), consisted of hand-crafted beach paraphernalia, such as swimsuits, inflatable rafts, umbrellas and beach balls. For her new exhibition,&nbsp;<em>Winter</em>, Phranc will exhibit painted paper and cardboard snowshoes, ski sweaters, ski pants, lift tickets, and even a shiny new red sled! In these trompe l'oeil re-creations of nostalgic winter items, Phranc remarks upon the reconstruction and idealization of memories.</span></p> Sat, 16 Nov 2013 07:16:58 +0000 John Huggins - Craig Krull Gallery - November 30th, 2013 - January 11th, 2014 <p style="text-align: justify;"><span style="font-size: small;"><strong>John Huggins</strong>&nbsp;is a master of the challenging and exacting process known as Polaroid transfer (made even more challenging by Polaroid's recent bankruptcy). This process, in which wet Polaroid emulsion is transferred to another piece of paper, results in a grainy, desaturated image. Huggins then enlarges the transfer into a 30x40" archival pigment print, further enhancing the grain of the image as well as the fiber of the paper, thus resulting in a textured, tapestry quality. All of the photographs in this exhibition were made from the&nbsp;<em>photographer's gondola&nbsp;</em>on the lifts of Aspen. His compositions of horizonless, snow-covered mountain faces dotted with tiny skiers suggest a Zen simplicity of man in the context of nature. In the most minimal images, it appears as if the tiny figures are actually skiing down the vertical surface of the paper.</span></p> Sat, 16 Nov 2013 07:18:01 +0000 Marc Bohne, Ann Lofquist, Astrid Preston, Pamela Kendall Schiffer, Andrea Peters, Nicole Strasburg, Robin Mitchell - Craig Krull Gallery - November 30th, 2013 - January 11th, 2014 <p style="text-align: justify;"><span style="font-size: small;">To complement these two winter exhibitions, <a href="" target="_blank"><em>Winter</em></a> and <em><a href="Aspen" target="_blank">Aspen</a></em>, the gallery will present a group show entitled,&nbsp;</span><em style="font-size: small;">A Little Snow...&nbsp;</em><span style="font-size: small;">This exhibit of small snowscape paintings will include work by</span><strong style="font-size: small;">; Marc Bohne</strong><span style="font-size: small;">,&nbsp;</span><strong style="font-size: small;">Ann Lofquist</strong><span style="font-size: small;">,&nbsp;</span><strong style="font-size: small;">Robin Mitchell</strong><span style="font-size: small;">,</span><strong style="font-size: small;">&nbsp;<strong>Andrea Peters</strong>, Astrid Preston</strong><span style="font-size: small;">,&nbsp;</span><strong style="font-size: small;">Pamela Kendall Schiffer</strong><span style="font-size: small;">, and&nbsp;</span><strong style="font-size: small;">Nicole Strasburg</strong><span style="font-size: small;">.</span></p> Sat, 16 Nov 2013 07:19:04 +0000 Patrick Jackson - François Ghebaly Gallery - November 9th, 2013 - January 11th, 2014 <p style="text-align: justify;"><span style="font-size: small;"><strong>Fran&ccedil;ois Ghebaly</strong> presents<strong> <em>The Third Floor</em></strong>, an exhibition of new work by Los Angeles-based artist<strong> Patrick Jackson</strong>. &nbsp;For this exhibition Jackson has installed scaffolding that divides the gallery into three levels. Each floor is installed to different effect, creating an ominous and psychologically loaded space.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The basement level is set with a variety of oversized ceramic vessels. &nbsp;Most have a black cracking glaze that looks similar to burnt wood, but the giant mugs of the group come in an intense variety of colors, textures and patterns.&nbsp; Each mug holds an assortment of things, such as dirt clumps, soda colored epoxy and resin crystals.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The ground floor is lined with white carpeting and lit with daylight bulbs creating a very bright white room, an uncanny gallery space.&nbsp; There is one floor piece and three wall works in this section.</span></p> <p style="text-align: justify;"><span style="font-size: small;">On the top floor stands, &ldquo;Black Statue,&rdquo; a five-foot figure, with body, clothing and hair all a shade of black.&nbsp;&nbsp;The eyes themselves are black holes that burrow into the body.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Jackson invited artist Mitchell Syrop to install a text piece on the exterior wall of the gallery; it reads: THERE IS NO DEVCE TO RECORD IT</span></p> Mon, 23 Dec 2013 08:40:33 +0000 Group Show - Frank Lloyd Gallery - December 7th, 2013 - January 11th, 2014 <p style="text-align: justify;"><span style="font-size: small;">The<strong> Frank Lloyd Gallery</strong> is pleased to announce the opening of a group exhibition,&nbsp;<em><strong>Small is Beautiful</strong>.</em>&nbsp;Presenting a selection of small-scale artworks in ceramics and other media,&nbsp;<em>Small is Beautiful</em>&nbsp;privileges the intimacy of objects that can be held in one&rsquo;s hands.</span><br /><br /><span style="font-size: small;">The works on display make explicit reference to the role of the artist&rsquo;s hand. Forming clay, drawing ink across paper, and collaging materials are all personal, human gestures that tie a work to its maker. The impact of these modestly-sized works lies in the details that reveal themselves upon close inspection.</span><br /><br /><span style="font-size: small;"><em>Small is Beautiful</em>&nbsp;includes works by Ralph Bacerra, Larry Bell, Roseline Delisle, Robert Graham, Robert Hudson, Jennifer Lee, Ron Nagle, Gustavo P&eacute;rez, Ken Price, Adrian Saxe, and Richard Shaw.&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Holiday Hours</strong><br /><br />The Frank Lloyd Gallery will be closed to celebrate the holidays from<br /><br />December 22&nbsp;&mdash;&nbsp;26, 2013 and&nbsp;December 29, 2013&nbsp;&mdash;&nbsp;January 1, 2014.</span></p> Wed, 18 Dec 2013 07:32:12 +0000 Group Show - Jancar Gallery - December 7th, 2013 - January 11th, 2014 <p><span style="font-family: Helvetica,Arial,sans serif;"><span>&nbsp;</span></span></p> Mon, 18 Nov 2013 08:09:22 +0000 Joel Shapiro - L.A. Louver - November 14th, 2013 - January 11th, 2014 <p style="text-align: justify;"><span style="font-size: small;">Venice, CA - LA. Louver is pleased to present a solo exhibition of Joel Shapiro. The exhibition features an installation of suspended work and new freestanding sculptures that continue Shapiro&rsquo;s exploration of dynamic form. &nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">The suspended work defies both gravity as well as the restrictions traditionally ascribed to sculpture. Wooden Forms of varying rectilinear shapes. sizes and weights, and painted in an array of brilliant hues, hover in space. Fastencd by string attached to the ceiling above and anchored from the floor below, the planks and panels are situated at contrasting angles, diagonals and heights throughout the gallery, creating a sense of movement not only in relation to one another, but also as solitary objects. Color plays an essential role in compounding this effect. adding an exuberance that reverberates beyond the forms&rsquo; physicality. Although not site-specific, the installation is in direct dialogue with the architecture, but is not confined by it - a single form extends beyond the gallery space and into the reception area. &nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">In preparation for the installation, Shapiro constructed a scale model of L.A. Louver&rsquo;s first floor gallery in order to envision how the forms would react in the space. According to Shapiro: &ldquo;There is no perfect arrangement. That's part of the game. You can be creative and invent something. You could take those elements. reconfigure them, and perhaps be more exciting or less exciting. It&rsquo;s just a moment in time.&rdquo; </span></p> <p style="text-align: justify;"><span style="font-size: small;">&nbsp;This is only the fourth installation by Shapiro of this scale and construction. Exhibitions of suspended work were previously held at Rice University Art Gallery, Houston, TX. 2012; Museum Ludwig, Cologne, 2011; and Pace Gallery. New York, 2010. Suspended work that presaged these installations were presented at 23 Savile Row in London in 2008 (a permanent installation), and in LA. Louver&rsquo;s Skyroom in 2004. The exhibition includes new freestanding sculptures by the artist in the gallery&rsquo;s first floor south gallery and Skyroom.&nbsp;</span></p> <p style="text-align: justify;"><span style="font-size: small;">Joel Shapiro (b. 1941) received his BA and MA from New York University. Since he first began showing in the early 1970s, Shapiro has been the subject of over 150 solo exhibitions and retrospectives worldwide. Significant solo exhibitions include: Whitechapel Art Gallery, London. 1980; Whitney Museum of American Art. New York. 1982; Stedelijk Museum. Amsterdam. 1985; Walker Art Center, Minneapolis, jointly with the Nelson-Atkins Museum, Kansas City, 1995-1996; American Academy in Rome, 1999: Yorkshire Sculpture Park. 1999: and The Iris and B. Gerald Cantor Roof Garden, The Metropolitan Museum of Art, New York, 2001. In 2005. his work was seen in <em>Correspondence: Joel Shapiro/Jean Baptiste Carpeaux</em> at the Mus&eacute;e D&rsquo;Orsay, Paris. Notable commissions include the United States Holocaust Memorial Museum, Washington, D.C.; the United States Embassy in Ottawa, Canada. commissioned by the Foundation for Art and Preservation in Embassies (FAPE); the Communaut&eacute; de Communes de l'Agglom&eacute;-ration Orl&eacute;anaise. France; 23 Savile Row. London; and the Denver Art Museum. Earlier this year, Shapiro unveiled another commission for FAPE at the Consulate General of the United States in Guangzhou, China.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Shapiro has been elected to the Swedish Royal Academy of Art in 1994, and the American Academy of Arts and Letters in 1998. In 2005, the French Minister of Culture awarded Shapiro the Chevalier dans l&rsquo;Ordre des Arts et des Lettres. Shapiro's work is represented in numerous public and private collections worldwide. He was also honored at this year's Americans for the Arts, receiving the award for Outstanding Contributions to the Arts.</span></p> <p style="text-align: justify;"><span style="font-size: small;">An online brochure has been published on the occasion of this exhibition. For more information, please visit our website:<strong><em></em></strong></span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong><em>We will be closed 24-25 December and 31 December - 1 January</em></strong></span></p> Wed, 18 Dec 2013 07:35:26 +0000